It Is… Yet It Isn’t

My Name is Red by Orhan Pamuk is definitely a challenging read. It is a book that requires the reader to critically think throughout. With all of the different characters that tell their story, it can be difficult to know when to take the words in the book literally, and when to use critical thinking to make sense of the story. 

The chapter “I am a Tree,” requires the reader to think a little harder to understand what is going on. I had many questions at the beginning of the chapter. Why does a tree have a chapter to itself? How can a tree even speak? What is the importance of this tree to the story as a whole? It seemed like a completely random decision by Pamuk, but the more I am reading, the more I am realizing how deliberate Pamuk is with every word choice he makes in this book. I became aware of the connection of the tree to the book in the very last paragraph of the chapter.

“I the humble tree before you, have not been drawn with such intent. And not because I fear that if I’d been thus depicted all the dogs in Istanbul would assume I was a real tree and piss on me: I don’t want to be a tree, I want to be its meaning.” (Pamuk, 51)

After reading this, I realized that that tree was a picture all along. This explains why it belongs in a book about illuminations. The tree had actually simultaneously given the perfect description as well as an example of a meta picture, which is a picture about itself. 

This reminded me of the  image above. The caption translates to, “This is not a pipe.” Scott McCloud explained in his book Understanding Comics: The Invisible Art that the image means to say that is a picture of a pipe and not a real, tangible pipe itself. Yet another meta picture.

 

 

 

Art Is Thicker Than Blood

I was fascinated to see all the different relationships present in the movie The Secret of Kells between Brendan and the other main characters which challenge the saying “blood is thicker than water.”

The first relationship we were introduced to was that between Brendan and his uncle, Abbot Cellach. It appears that there is some familial love, but there is no warmth in their relationship. Brendan is young and is therefore full of life, creativity, and a yearning to explore what life is like outside of the confines of the walls he has lived in all his life. Cellach however, is older and has more knowledge of the dangers that lie outside the walls and want to protect Brendan from it. Their two very different views of life strains their relationship. The way Cellach is drawn as an incredibly tall, almost larger than life man compared to little Brendan also invokes a sense of how much power and authority he has over his nephew. 

We then see the relationship between Brendan and Brother Aidan. Aidan is a smaller man and even though he is much older than Brendan, his creativity, carefree, young-at-heart personality makes him  similar to the young boy, and plays a significant role in the amazing relationship that they forged with one another. Aidan also physically looks more like Brendan that Cellach does, which makes it difficult to remember that they are not blood relatives after some time. Art brought them together and sustained their friendship for decades.

Art was also the reason for the genesis of the relationship between Brendan and Aisling, the forest fairy. They met when Brendan went to the forest to get natural painting material for Aidan. Their relationship was full of childhood innocence but quickly grew stronger. In Brendan’s quest to find The Eye of Crom, Aisling essentially sacrifices herself so that Brendan can get The Eye and complete the Book of Kells.

Even though the expression “blood is thicker than water” is more commonly heard, it appears that in the case of this story, the expression “art is thicker than blood” is more appropriate.

The Golden Calf: One Story, Many Perspectives

The Bible is originally a book that consists purely of words and not illustrations. It has been up to different artists to interpret these stories and draw them according to what part of the story or what perspective they deem to be the most important. Images of Bible stories are found mostly in children’s Bibles because they need visual representations of text that they cannot yet read. We also see these images in Biblia pauperum, which are Bible stories that were drawn out for people who could not read in ancient times.

The following are a few examples of how a single story has been depicted in a variety of ways by different artists:

1.  
The Hebrews in the desert are jubilant and celebrating the idol that they just made for themselves. It shows their joy in having something to worship and a source of the hope that they had lost after Moses disappeared on the hill for too long.
 

2.  
Aaron is presenting the golden calf that he just fashioned from the Hebrews’ jewelry. Moses is drawn as a small figure in the background. He is barely noticeable. The artist decided the golden calf and the people worshipping it are a more important part of the story than Moses is.
 

3.  
Moses is furious about the Hebrews worshipping a false god and is just about to break the stone tablets with the 10 Commandments on them out of rage. Here, the people are scared of not only the wrath of Moses but also that of God.
 

4.  
Moses is about to demolish the golden calf and the people look distressed because their idol that they worship is about to be destroyed.

A simple Google search provided these different images that are based on the same story. In all of the images, one can recognize that they refer to this particular Bible story because of the iconic golden calf that is depicted. But the setting of the story and the emotions felt by Moses and the Hebrews vary depending on the artist. This is the beauty of images that interpret text. They provide different perspectives on a single piece of text, usually giving us, the audience, an insight to an artists personal take on the story.

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